There are touches of above-average streaming craft here, distancing it from the standard Netflix equivalent – an indistinctive yet solid score from Trent Reznor and Atticus Ross, some grand cinematography from Guillermo del Toro fave Dan Laustsen – but the film bears too much of that synthetic Apple feel, as if it was primarily made to show off the abilities of a new iPhone.

Out of agony and chaos, Chinese film-maker Lou Ye has created something mysterious, moving and even profound – a kind of multilayered docu-realist film, evidently inspired by a real-life situation in film production.

Brave it might be, but there’s nothing all that “new” about the world revealed in this latest tired and uninspired dollop of content from the Marvel Cinematic Universe.

Though I was willing myself to enjoy this fourth film, about the heroine’s adventure with a younger man, the Bridget Jones series has frankly run out of steam.

Movements are very fluid, but expressions limited and there are buckets of cartoon gore, in a deep ruddy red that recalls mass-produced tonalities of fake Persian carpets.

If the film is frustratingly nebulous as its layers of reality intermingle, it is a neonatal nightmare that undoubtedly envelops you in its feelbad embrace.

Whatever might have made sense on paper just doesn’t translate to screen, a fun little concept that ends up being something of a drag.

As Valentine’s Day treats go, however, Love Hurts is the cinematic equivalent of a wilted bouquet from a petrol station forecourt.

Overall, this is a likable and well-researched film, but there is something unsatisfying in ignoring the band’s later stages. Perhaps Part II is in the works.

Dog Man is packed with goofy gags that whizz past, with no let up from the hectic pace.

Kinda Pregnant finds its groove in the more grounded and honest. The tiptoeing around big changes in one’s best friendship, the tension between joy and dread, the role of a friend when another is going through something irrevocable all get mentions that hint at something sharper and stickier. But what texture exists gets steamrolled by the loud and extreme.

This is a workmanlike iteration somewhat ploddingly true to its genre, from the style of lighting used for the interviews, to the sweeping, keening strings-led soundtrack, to the almost shocking moments of humour and honesty.

In plot terms there is something unsubtle, unconvincing and even absurd in where it’s all heading.

Mr Nobody Against Putin ultimately stands as both an act of service and a tribute – to a school that once was, to students whose lives were and will be irrevocably changed for the worse by the regime, to a once fruitful job. Talankin has produced a must-watch, indelible document of ideological warfare that echoes far beyond Russia. How’s that for a nobody?

What’s crucially missing is detail, both in the characters themselves and the weight of what they’re going through.

While there’s a cynicism that clearly comes from someone who has done his time in both Los Angeles and the industry, it’s ultimately about something more human, and more unsettling, than just Hollywood. There are, after all, lurkers everywhere.

For a film about advanced technology, it’s all awfully simple.

Chainey is certainly skilled at distracting us, drowning his film in atmosphere and mood to offset the devolving half-baked hokum of his plot.

While the film does happen upon a real, and painful, truth of the problems that come from dating without a label, as things start to devolve, it becomes harder to understand how they ever found themselves here.

There’s bits of misplaced humor, a firm sense of place and promising performances, but frustratingly little magic to be found here.

The aimless and unfunny shenanigans of Atropia never really lead to anything and they certainly don’t lead us anywhere that demands the sudden level of dramatic seriousness that the ending brings about.

The real win here is watching Witherspoon and Ferrell show off, both unrestrained by a harder rating and a more raucous script than the norm and while their escalation of bad behaviour might not be quite as bad as it could have been, they both make for wonderfully petty antiheroes.

As the years go by and the trauma festers, the film grows into something thornier, surprising, beautifully textured and deeply moving.